Exhibitions & Events Archive - 2003
- DofA 2003
- sacred ground beating heart: works by Judy Watson 1989 - 2003
- Why Make Prints
- Outside Tokyo (ideas about space & time)
- Patricia Piccinini - Call of the Wild
24 November-14 December 2003
Susanna Castleden, Visions - Mount Misery 2002 [detail], screenprint on folded paper, courtesy of the Artist, photo: Robert Frith
Susanna Castleden is the 2002 recipient of the Gallerie Dusseldorf Prize.
DofA (previously SofA) is the John Curtin Gallery’s annual exhibition of work by postgraduate and honours students from the Department of Art, Curtin University of Technology. This exhibition showcases a diverse range of artistic talents, backgrounds and interests. It incorporates both traditional and contemporary forms of art, from painting to large-scale installations, and also includes electronic, audio-visual and digital artworks.
J. N. Blank, This message has been stored too long and has been deleted, 2003, super 8 transfer to digital video, animated GIF, dimensions variable, courtesy of the Artist
For the last ten years, Blank has worked within video and multimedia. He has also worked collaboratively with other artists in cross-disciplinary work. In 2002, he presented a computer-based work in Shanghai, China, with four other Perth artists. He has exhibited internationally and has been awarded prizes across a range of disciplines.
When confronted with an effective iceberg below the surface of existence, the prospect, of not only making sense, but also structuring thought and physical co-ordination to create visions or objects able to affect or elicit emotional responses from others is truly an astounding feat. We are present yet past. Our minds flit from moment to moment, year to year. In attempting to capture the present we surround ourselves in the new past. The remains are never reliable or guaranteed to be the best of whatever there once was, rather that which was left over.
Catts’ work deals with issues surrounding the discrepancies between our cultural perceptions of life and scientific/technological abilities to manipulate life through the use of tissue technologies (tissue culture and tissue engineering) as a medium. His work transgresses artistic and scientific practices and ranges from the performative to the conceptual. He has exhibited nationally and internationally in various festivals and shows, and has also presented his work in many forms and events ranging from scientific conferences to extreme art expressions forums. He has published several papers in journals and is on the editorial board of the new peer review journal, Technoetic Arts.
Catts’ has lead and presented work as part of the Tissue Culture and Art Project (TC&A) since 1996. This is a collaborative (with Stelarc) and on-going artistic research and development project that investigates the use of tissue technologies as a medium for artistic expression. The installation Extra Ear _ Scale deals with notions of partial life and it is the fourth time this year that it will be presented. As this piece involves both performative and site specific aspects, the artist looks at the ever changing narrative evoked by the existence of a recognizable object of partial life.
Barbara Cotter, Untitled 11(detail) 2003, enamel on copper, courtesy of the Artist
Cotter has participated in numerous national group and award exhibitions since graduating from Curtin in 1991 with a BA (Visual Arts). Her work is currently represented in galleries and craft shops in Western Australia. She holds a Postgraduate Diploma (Visual Arts) and is currently completing her Masters of Creative Arts (Art) at Curtin.
Cotter is a studio-based jeweller whose work addresses the body as form and the body as a mechanism for making. Her fascination with the body involves an exploration of the physicality of jewellery making and the tactile experiences of the artists as they make. The work in the DofA show represents her recent investigations into enamelling processes as a means of illustrating the relationship between the internal and external features of the body.
Marie Haass, Drinking Coffee, 2003, light box, 700x450x150mm, courtesy of the Artist
Haass lived and studied in France and Germany before moving to Western Australia in the 80s. Since her graduation in 1985, she has maintained a high level of professional practice in Australia and overseas, including 5 solo shows. She has also participated in numerous group exhibitions.
Haass’ work explores the relationships between social reality and artistic production. She revisits the various ways in which her artistic activities (actual or desired) have been influenced by the specific spheres of social, cultural and historical realities in which she has lived and worked. Her work reflects aspects of the postmodern subject, fragmented and trapped in a maze of competing signs, and offers multiple meanings that ultimately deny a simplified reading.
Bruce Slatter, Sum of the Small Things (detail), 2003, mixed media, 10% of real object size, courtesy of the Artist
Slatter graduated in Fine Arts (Sculpture) from Curtin University of Technology in 1992 and went on to complete Honors in 2000. He has exhibited in a number of group exhibitions, including Maybe – a two-person show at Kerb Gallery 2003 – and was also the 2002 and 2003 Popular Choice Award Winner at the Joondalup Invitation Art Award.
Slatter has always been interested in small things. His recent work explores the seduction of the replica, the souvenir, the model and the toy, yet is not specifically any of these things. The relationship that exists between these miniature objects, the artist/maker, the viewer and the real world provides considerable potential for meaning and interpretation. The possibilities of control, fetish, nostalgia and the nature of childhood remain the central focus and inspiration for these miniature everyday objects.
Ric Spencer, …for the turnstiles, 2003, mixed media, dimensions variable, courtesy of the Artist
Spencer was born in Perth and resides in Fremantle. In 1999 he gained a first class Honours Degree in Art from Glasgow School of Art and Curtin University and is currently finishing a Doctorate of Creative Arts at Curtin University as a recipient of an Australian Postgraduate Scholarship. He has been involved as an artist, writer and curator in shows across Australia, Asia and the UK.
Spencer’s practice is based around walking, principally as a means to quotidian conversation and urban reconnaissance. Over the past few years his walking has become more localised and domestic as his role as father blends with that of the peripatetic. …for the turnstiles reflects a desire to initiate correspondence with a stream of populace movement, seemingly local and yet only passing through, a restless undercurrent of continuous relocation and repossession- country to country, city to countryside, home to shop.
Maria Ainsley, Engrossed Tincture, 2003, ink, fabric, paper, detail of installation, dimensions variable, courtesy of the Artist
Ainsley has shown work in various group exhibitions, including Women Take Up Space at the Jacksue Gallery, 1999, Touching From a Distance at the Moores Building, 2001, and Response to the War on Iraq at the KURB, 2003. She is also an associate member of the KURB.
Ainsley’s artistic practice uses the process of drawing and its performative aspects as a way of exploring the subjective experience of temporality. Her work is about the language of materials and aesthetics. Fibrous and absorbent materials, such as paper and fabric, play an important part in the work, which may take the form of large-scale drawings or ephemeral installations. Her influences include artists, such as, Eva Hesse for her approach to materials, Janet Laurence for her poetic sensibility, and Anish Kapoor and Hossein Valamanesh for their philosophies.
John Belviso, zerodyssey, 2003, film still, courtesy of the Artist
In 1997, Belviso graduated in Fine Art at Curtin University and then went on to study Architecture. In 2001, he had his first solo exhibition entitled mio jato at PICA in Perth.
Belviso’s work draws from a variety of sources, namely music, technology, engineering, architecture and film. Assemblage and historical events are essential to the artist’s ideas about spatial enclosure. He assembles his work from and within the historical context of World War II, the evolution of the Space Age and observations of contemporary Tokyo. Model and screen-based narrative are his primary mediums and the recipe for the arrangement is layered. All components are at once covers, supports and autonomous members, feeding off the surrounding assembly.
Leanne Chiew, Artorfact #1 from “Bone of Contention”, detail, 2003, black and white photograph, courtesy of the Artist
In 1995, Chiew completed a Bachelor of Arts at Curtin and was selected to exhibit in the Healthway National Graduate Show, Hatched (1996). Since graduating, Chiew has worked on many private commissions, both locally and internationally.
Chiew’s work explores the uniqueness of individual perception by juxtaposing it against the sameness that defines us (genetic code). By establishing this apposition, the artist is able to examine how perception can be transformed. The artist confronts the viewer with something that is both simultaneously familiar and unfamiliar, taking the normally invisible and ‘familiar’ (bone) and altering the context slightly to make it visible and ‘unfamiliar’ (hat). Through the juxtaposition of ideas, the work weaves a combination of illusion and perceived reality.
Thea Costantino, Exegesis, 2003, still from animation, courtesy of the Artist
Costantino graduated in 2001 with a BA Fine Arts from Curtin. She has shown work in a number of group exhibitions within Western Australia. Last year, as part of the Artrage festival, she curated an exhibition of children’s photography, in collaboration with Poppy van Oorde-Grainger. She also collaborated with Simon Pericich for the 2002 Perth International Arts Festival.
Costantino’s work is multi-disciplinary but always relies heavily on narrative. Sometimes she burlesques pre-existing texts, like the book of Genesis or a Wagner opera, and makes them profane or prosaic. Other times she likes to tease out a non-existent story from an extant space. She enjoys playing on a certain anxiety between her characters and the spaces that they occupy, and this uncanniness of space, its potential to turn rank and alien, shares a quality with the descent of her narratives from the sublime to the absurd.
Rebecca Dagnall, Neigbours, 2003, photograph, 60x130cm, courtesy of the Artist
In 1999, Dagnall graduated from Curtin with a Bachelor of Arts (Art). Dagnall has exhibited in many collaborative exhibitions both in Perth and Germany. Her works are included in the UWA Womens Department collection and in other private collections.
Dagnall’s work is a documentation of her own cultural space, the suburb in which she grew up. Taking the form of photography, the work marks her passage through this specific locality, randomly capturing an essence, a poignant visual interpretation, that when framed within the lens, forms a rich textural analysis of life in the suburbs. It serves to allude to the unspoken, the beauty of the banal, neither exotic nor rare, in fact nothing but ordinary. It deals with the relationships of people to their specific locality, and as it is viewed, relates again to the wider social context.
Information about one of Rebecca DAGNALL's previous group shows can be found here.
Simone de la MOTTE
Simone de la Motte, Untitled, detail, 2003, manipulated fabric, approximately 10x1000cm, photo: Moira Doropoulos, courtesy of the Artist
In 2002, de la Motte graduated from Arts at Curtin. She has shown work in a number of group shows and presented work at Hudsons Gallery in Perth 2003.
De la Motte’s art practice explores the aesthetic qualities of materials and transformative processes for their affective possibilities. Her work seeks to engage the viewer, through tactile and other sensate responses, in an attempt to privilege the importance of bodily experience. “We need tangible things and real bodies, we will not be able to live indefinitely in cyberspace or a state of virtual reality without suffering sensory and emotional deprivation” (Jane Hamlyn, The Body Politic, British Crafts Council, 98/99).
Kate Faulds, Untitled, 2003, digital video, dimensions variable, courtesy of the Artist
Faulds completed her Fine Arts Diploma at Perth TAFE in 2000. In 2001, she graduated with a Bachelor of Fine Arts from Curtin University. She has also studied Film and Television and Jewellery at Curtin. Faulds has been involved in several group exhibitions and will be participating in this year’s Science and Digital Arts Festival at Shanghai University, China. Her first solo exhibition was in August 2003 at The Kurb Gallery.
Through the use of digital film, Faulds constructs paintings that move. She is concerned with every detail within these spaces; from the bracket that supports the cinema curtains; to the vessel she places on the altar; to the moments of movement within the church. “The closest relative of a church is a theatre, where people also come together to witness a scripted performance.” – M. Visser
Aasiya Evans, IMMERSE, 2003, digital video, courtesy of the Artist
In 2000, Evans completed her Diploma of Fine Art at Central Metropolitan School of TAFE. She will be represented in the Science and Art Digital Festival in Shanghai.
Immerse (2003) is a 10 minute digital film that is an optical, temporal, painterly, kinaesthetic body of work that plays with the idea of exploring the sphere and its metaphysical existence in the occupation of space. Evan’s work is about multimedia-based art and her research has primarily focused on exploring the virtual or that which lies beneath the visual surface of the world. Immerse draws away from the representational world to one of the imaginary that allows the viewer to indulge in sensuous spherical forms of other worldliness and the cosmos.
Meredith Godley, Make Your Own Art (Whispers), 2003, video, courtesy of the Artist
Godley began her degree in Fine Art at Curtin University in 2000. She has won several academic awards and participated in a number of art exhibitions, including the Curtin First Year exhibition in 2000. Her work was also featured at Gomboc Galleries in 2001. In 2003, Godley participated in Inertia as part of the City of Joondalup Festival.
Godley’s video work is concerned with the use of spoken language within contemporary artwork. Like a diary, her work is expressed through actual dialogue that is spoken rather than written. The content of what is spoken in the video is mainly concerned with a dialogue that would seem to be internal within the artist. In this case, the private is expressed in a very public space.
Anwen Handmer, Sink, detail, 2003, oil and linseed on marine ply, 120x80cm, courtesy of the Artist
In 2002, Handmer completed her Fine Arts degree at Curtin University. Her work featured in a solo exhibition at Margaret River Art Galleries in September 2002, where she has had regular exhibits. Most recently, Handmer’s work has been presented at Perth Galleries early in 2003.
Handmer is interested in subjects suggesting absence, presence, emptiness and spaces. Her work attempts to engage the notion of the receptivity of materials and processes to the image, and of the image to the materials and processes. “The painters continual search is for a place to welcome the absent. If he [sic] finds such a place, he [sic] arranges it and prays for the face of the absent to appear.” – John Berger, The Shape of a Pocket, p. 32.
Therese Howard, emerging, detail, 2003, cold painted bronze, copper wire, chrome plated steel, dimensions variable, courtesy of the Artist
Over the last five years, Howard has participated in a number of group shows at PICA, Kurb and most recently in Appearance at the Goddard de Fiddes 2002.
Howard draws attention to the small, seemingly insignificant occurrences of the everyday. Our interaction with the natural world, especially in an urban environment, occurs with many events on the periphery appearing and disappearing almost without notice. The things that are glimpsed in passing, and often deemed unworthy of closer investigation or consideration, are the main inspiration for her work. The subjects are always small – insects, mammals and birds – and always presented with minimal intervention into the surrounding space. The overlooked or avoided, possibly disturbing, events that occur in our lives are given closer examination in her work.
Bronwen Kamasz, stop little pot, stop, detail, 2003, mixed media, 80x210x140cm, photo: Aasiya Evans, courtesy of the Artist
Kamasz completed a preliminary art course at TAFE in Geraldton and then studied at Claremont School of Art. She then continued her studies at Curtin. During this period of study, Kamasz has exhibited in numerous group shows in various galleries in Perth and is currently producing work for a show at the Breadbox Gallery in March 2004.
Kamasz works within the realm of installation art, which is a historical practise with much precedent throughout the 20th century. In particular, her works explore the unstable nature of our postmodern culture as a new set of experiences that we must negotiate. Borders and binaries such as public/private, mind/body and interior/exterior are of particular interest to Kamasz at the point at which they collapse or are corrupted. A strong area of influence for her is the psycho/“logical” aspects of fable, folk/fairy tale and horror narratives embodied within both historical and pop cultural texts.
Beth Kirkland, Parable II (one of a series of ten) 2003, gesso, incisions, transfer, 30x31cm, photo: John McKinnon, courtesy of the Artist
Kirkland completed her first degree in literature at the University of Toronto and then travelled to Western Australia. She spent 20 years as a weaver before commencing study in Fine Art. Since participating in The Nip ‘n’ Fluff Christmas Show in 1999, she has continued to exhibit regularly in both group and solo shows.
Kirkland’s most recent work has incorporated her literature studies. In particular, she has chosen to study Samuel Taylor Coleridge’s poem, The Rime of the Ancient Mariner, in relation to salinity and its consequences for both rural and urban areas. The poem involves the killing of an albatross – the bird of good omen – by the mariner, which leads to his life-long penance of wandering through the world warning of the consequences of abusing nature. Kirkland’s work explores a tiny salt lake near the Great Southern town of Cranbrook, north of Albany, using the killing of the albatross as a metaphor for poor farming practices and bad government policy.
Anna Nazzari, Untitled, 2003, balsa wood, train engine, gear box, flywire, 40x40x40cm, photo: Moira Doropoulos, courtesy of the Artist
In 2002, Nazzari completed a Bachelor of Arts (Art) with Distinction from Curtin University. She has participated in a number of group shows, including several in regional Western Australia.
Nazzari’s practice focuses on the invention, distortion and installation of low-tech machinery. The artist’s aesthetically seductive machines are reminiscent of farming architecture, animal housing and Modern design. Caged in an octagonal structure, the devices look and appear useful, however, Nazzari’s model-like machines possess limited skills, and their monotonous movements appear conflicted in a world where advanced levels of operational efficiency are a necessity.
Stankowski finished her Bachelor of Art at Curtin in 1999. During 2000, she completed a Graduate Diploma of Education at Edith Cowan University and then returned to Curtin for further study. She produces both fine art and craft objects and has been involved in a number of group exhibitions in Perth and Melbourne.
Stankowski is fascinated with the things that people choose to throw away – the neglected and ignored has an immense lure for her. She focuses on transforming discarded objects from something easily ignored into something interesting and unexpected. Her textile background has led to an interest in pattern, texture and ornamentation. She uses these devices to invite the viewer into the work, revealing the beauty, richness, sensuality and sometimes the fragility of the objects.
Joyce Syms, All the rivers run… 2003, oil on canvas, 1x1.6m, photo: Moira Doropoulos, courtesy of the Artist
Syms completed a Bachelor of Science (Geology) in Canberra before moving to Western Australia. In 2001, Syms completed a Bachelor of Arts (Art) at Curtin. She has exhibited in several group exhibitions including the Zero1 show of the work of graduating students in 2001. Her work is also represented in the Curtin University of Technology Art Collection.
As a migrant, Syms finds that she resides in ‘the space between.’ The paintings of Syms are a reflective response to the spaces she finds herself in and her love of the land. In this instance, she is looking at the space between earth science and landscape art; and the aesthetics of the river. Syms makes extensive use of maps in her work. Geological maps are especially interesting as they contain not only information about the spatial relationship of landmarks and other objects to each other, but a history of the earth itself dealing with both space and time – geologic, geographic, historic and personal.
Thompson started his art career in the Goldfields and has travelled throughout the state of Western Australia. He has completed a degree in Contemporary Aboriginal Art and is currently a part time lecturer at Leederville TAFE and Curtin University. Thompson describes himself as a Yamaji/Noongar contemporary Aboriginal artist. His given Aboriginal name, Burrna, means earth in Yamaji language.
Thompson’s main influence has been his grandmother, who told him stories of the land, stars and different animals. By observing his grandmother’s work on bark paintings and with the assistance of his cousin Terry, Thompson has had the opportunity to practice Indigenous Art. His main interest in life is perfecting his art through experimentation with many different forms and techniques. For his canvas, Thompson uses clay to tell his stories.
Thomson has lived and worked in both London and Sydney. In 2001, he completed his BFA in painting at the College of Fine Arts, NSW, and has since been involved in several group shows and performances.
Thomson’s paintings explore the nature of formal abstraction and its tendency to collapse into other social models, for instance, fashion and design. His work is characterised by a reductive appearance, strong material presence and basic geometric shapes. Central to his project is an interest in the physicality and sensuality of colour, and its transformative potential. Working within painting’s limitations, his work can be seen to question assumptions of authorship, originality and unity surrounding the art object.
Lauren Valentine, Lolita 2003, stainless steel, aluminium and nylon, 30x25x7cm, photo: Moira Doropoulos, courtesy of the Artist
Valentine completed a Diploma of Art (Jewellery) at TAFE before going on to complete a Bachelor of Art at Curtin. During her studies, she exhibited in group exhibitions and has been instrumental in organising exhibitions while a student.
Valentine’s work draws from Darwin’s theory of sexual selection, in which the males of a species seek to gain favour with the females of their kind through colour, ornamentation, sound and movement. In other words, while the female is clothed in drab colours and plays the wallflower waiting for an approach, the male struts around with the coat of many colours. Valentine’s work argues that women within western society are refuting Darwin’s theory by putting themselves in the position of show and tell. The wallflower is a thing of the past, as women now possess the coat of many colours and act as the attractors, while still retaining the power of choice.
Special event for art teachers
Saturday 22 November 2003
The AUSTRALIAN INSTITUTE OF ART EDUCATION (AIAE) and the ART EDUCATION ASSOCIATION OF WESTERN AUSTRALIA (AEAWA) present a National Summit with the theme IMAGINE: implications for the future of Australian Visual Arts Education.
Part of this summit will be held at the John Curtin Gallery on Saturday 22 November 2003. This will include a free preview of the DofA 03 exhibition for Art Educators.
For more information go to www.aiae.org.au and then refer to the what’s on menu button.
sacred ground beating heart
works by Judy Watson 1989 - 2003
26 September-9 November 2003
Judy Watson, evidence 2001, diptych, 155.6x61cm each, pigment on canvas, Private Collection, courtesy of the Artist
Judy Watson, sacred ground beating heart, 2003, installation view, JCG
Over the past fifteen years Judy Watson has developed a highly personal vision of the land and her country. Her work speaks eloquently of the suffering of Aboriginal Australians, the massacres, prejudice and disdain, while simultaneously evoking the dignity and achievements of Aboriginal culture. A contemporary artist she bridges both cultures and works in the space between to create a powerful image of reconciliation and understanding.
Watson is an Indigenous artist from North-West Queensland, specifically her Grandmother's land around Lawn Hill Gorge. She has won national and international recognition for her work including co-representing Australia in the 1997 Venice Biennale and winning the Moët & Chandon Fellowship in 1995.
The exhibition will present drawings, prints and paintings produced during the last fifteen years of consolidated work, to showcase her considerable strengths as an image-maker and chronicler of the land.
Presented with the support of the Curtin Business School.
This project has been assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body.
11 July-14 September 2003
from left to right: Kiff Slemmons [United States] Tweeze, 2001 silver, wood, steel, lens. Catherine Truman [Australia] Red Lungs, 2001 wood, india ink. Ramon Puig Cuyas [Spain] Hercules, 2001 wood, silver, nickel silver, paper, plastic. Jun Konishi [Japan] Tokyo Brooch, 2001, gold. Copyright of the artists. photo: Eva Jünger, BKV Munich.
Mikromegas, installation views, JCG, 2003
Mikromegas, which translates roughly to "small works, large ideas," is a fitting title for an exhibition of collected works that are grand in beauty and originality but small in physical size. The exhibition has been organized by Otto Künzli, a renowned jewellery artist and professor at the Academy of Fine Arts in Munich, Germany.
These elegant and whimsical stickpins by some of the world's most distinguished jewellery artists challenge the boundaries of contemporary craft. The work of the participating artists - a diverse group from Australia, Israel, Japan, Korea, New Zealand, South Africa, the United States and most of Europe - employs an remarkable variety of media, appearance and aesthetic codes. The collection is unified by its bravery, creativity, originality, fine craftsmanship and sense of humor.
Ornamental pins, an ancient jewellery form, are diminutive sculptures balanced on the end of a wire needle. Worn by men and women as ornaments for hats, bodices, ties, cravats and lapels, these fashion accessories reached their pinnacle of popularity in England in the later years of the Victorian era when sporting and animal motifs were in vogue. Stickpins were most popular in the United States during the 1920s.
The stickpins featured in Mikromegas have indeed freed themselves from the conventions of their predecessors and crossed over into contemporary artistic realms. Small only in their physical dimensions, they reveal the boundless creativity of the human mind.
Mikromegas had its inaugural showing during May and June this year at the Gallery of Applied Arts in Munich, Germany. It is the third in a series of exhibitions celebrating the 150th anniversary of the Bavarian Arts and Crafts Association.
This exhibition is presented by the Bavarian Arts and Crafts Association Munich.
Why Make Prints
11 July-14 September 2003
Urs Luethi, Morning Sun and Evening Star 1993 [detail], photogravure and aquatint, both 76x53.5cm, copyright of the artist
Despite the “new” media of photography, video and computers, the “old” medium of print has claimed a permanent place for itself on the international stage of artistic genres. It even has enjoyed a renaissance since the 1960s – in a way reconquered its lost dignity as it had been explicitly considered a mass medium – that has not only transcended the notion of affordable art but also stimulated a re-evaluation of the concepts of ‘original’ and ‘copy’.
The exhibition shows the development of printmaking in Switzerland since 1960 in nearly 80 works by 51 artists. The works are grouped according to technique and document developments from screen-printing to the experimental woodcut, engraving, lithograph and the involvement of the computer.
Presented by Pro Helvetia, the Arts Council of Switzerland and the Consulate General of Switzerland in Melbourne.
Outside Tokyo (ideas about space & time)
2 May-29 June 2003
Kate McMillan Prepared, 2001 [detail], photo: Robert Frith, courtesy of the Artist
Two interrelated and quintessential concepts - space and time, are used to define a state of being which is intangible, amorphous and fluctuating. Western Australian contemporary artists encompass fluidity, connectedness, juxtapositions and disruptors of time and space in varying permutations through their installation works. Selected primarily from the Curtin University of Technology Art Collection, Outside Tokyo curated by Suellyn Luckett and drawn primarily from the Curtin University of Technology Art Collection will feature installations by:
Paul Caporn Ice Box, detail, 2000, refrigerator, cotton flocking, neon tubing, photo: Robert Frith, courtesy of the Artist
Paul Caporn is a Perth based artist who creates sculptural and installation works, many of which incorporate light. Caporn completed a BA at Curtin University in 1992 and has had several solo exhibitions, participated in many group shows and received a number of public art commissions. In 2000 he was awarded an Australia Council New Works Grant.
The objects Paul uses are familiar, known and recognisable; icons of a culture built on exchange and sale. But he pushes them in new directions, making them disturbingly ‘other’. The shearer's-cum-hospital bed is Bound by neon restraints, neon bars turn the television into a Picture Cell'. A blue neon cube inside the padded fridge is an Icebox resonating with sense of imprisonment and incipient decay. ... Paul's work snaps at the heels of rational market politics, accepting its place ‘within’ the system while laughingly provoking our memories of other pasts, other intents. Look into the pool of water in the washtub, see the shimmering neon Cleanse and glimpse your own reflection. (Matt Trinca Homely Homely 2000)
Annabel Dixon, Untitled, detail, 2001, wooden pallets, found objects, photo: Robert Frith, courtesy of the Artist
Annabel Dixon graduated from Fine Arts at Curtin University of Technology in 2000 and is currently completing studies towards the Honours degree. Annabel has been involved in a number of exhibitions; including a shop front installation in Forest Chase, as part of the 2000 Awesome International Children’s Festival and a Woodside commissioned artwork also in conjunction with Awesome. She is currently undertaking a residency at PICA and her works are included in the School of Art, Curtin University and Holmes á Court Collections.
Untitled is an ordering of abject items, carefully but seemingly random items, gathered up over time by the artist. This catalogue of disparate objects is concurrently ordered by spatial geometry and connective relationships of diverse and often minute elements contained within or on each object.
Matthew Hunt Core (Hard)/Porn Wall, detail, 2000, acrylic paint on 80 curtain rods, wall fixtures, Curtin University of Technology Art Collection, purchased 2002, photo: Adrian Lambert, courtesy of the Artist
Matthew Hunt holds a Bachelor of Arts (Art) with Honours from Curtin University. He has participated in solo and group exhibitions in Sydney, Melbourne, South East Asia and regional WA. The work produced collectively under the title ‘Core’ was produced with an Australia Council Emerging Artist Grant. Hunt was awarded the Gunnery Studio Residency in Sydney in 1999. His work is featured in the collections of Artbank, Curtin University, Visual Art Foundation of WA and private collections.
Matthew Hunt is a multidisciplinary artist who’s work incorporates video, sculpture, photography and printmedia. The works Core(Hard)/Porn Wall 2000 and Hide (In Situ) 2000 were developed from Hunt's interest in the discourse and use of internet pornography sites. Hide (In Situ) is a selection of pornographic stills taken from internet sites. Hunt realigns and refocuses the viewers attention away from the foreground sexual activity to the semiotic codification occurring in the periphery. The resulting exploration acts not only to invert/pervert the original meaning of the image/s but also explores a possible shift or collision with the viewer, creating not only an external analytical response, but also internal identification, recognition and reflection.
Core(Hard)/Porn Wall amplifies the subject further, distilling the four or five dominant colours from each pornographic still and creating a hard core porno colour chart, this chart is painted proportionally onto curtain rods. The rods as a structure in real time and within the work itself act to support notions of inner and outer, private and public, seen and unseen. The psychological reworking and repositioning of the decorative and structural elements from the original source elevate the mundane, familiar and the overlooked to a new position with new possibilities and promises.
Central Bureau (Anthony Kelly) Random Samples, detail, 2001, microfiche reader, microfiches, audio component, shelving, Curtin University of Technology Art Collection, purchased 2001, photo: Anthony Kelly, courtesy of the Artist
Anthony Kelly was born on the 3rd of May 1977 in Paddington Royal Hospital for women in Sydney, Australia. In 1982 his family decided to relocate to Portugal. Anthony and his family settled in Lisbon for three years. In March 1985 they returned to Australian to resume their uneventful life in the beachside suburb of Clovelly. In 1988 the family once again moved, this time deciding on the far-flung reaches of the continent. The City of Perth was their destination.
Anthony spent the greater part of his adolescence at Trinity College for Boys, where he developed a deep distrust of Catholicism and a burning hatred of Prefects. He graduated in 1994.
Possibly as a reaction to the mental bondage he endured while at high school or possibly as a result of his low TEE score, Anthony chose to enroll at the Western Australian School of Art, Design & Multimedia. In 1988 graduated, obtaining during this time, the Certificate of Fine Art and Diploma of Fine Art. His work in the graduate exhibition was selected for inclusion in the Hatched: National Graduate Exhibition at the Perth Institute of Contemporary Arts (PICA).
The following year he began studying for a Bachelor of Arts (Fine Art) at Curtin University. In the third year of his degree Anthony and two other students collaborated to form the Atlas Group – a group whose aims are ambiguous but universal in scope. So far this group has produced a number of successful installations for the benefit of humankind. The group, however, faced difficulty and controversy early in its existence. The difficulty involved a stolen yet to be released movie script, US$100,000 and the Australian Federal police. The group and its members narrowly avoided prosecution but failed in their attempt to avoid a substantial lawyers bill. In 2001 the three received the Watts Memorial Award for performance and time based media.
Anthony went on to do Honours in 2002, pursuing concepts partly drawn from his work with the Atlas Group and also from work produced prior to the formation of the group. The result was the formation of an entity known as the Central Bureau – an organization whose purpose is to covertly alter our current reality and the systems that support it.
Over the last several years Anthony has continuously exhibited, both as an individual and in collaboration with the Atlas Group, He currently resides in Sydney and is working with others to extend the influence of the Central Bureau.
Random samples is a body of data derived from a series of experimental simulations targeting four randomly designated suburban residences. These experimental simulations were engineered and executed by an entity known as the Central Bureau. Its operations are anonymous and covert and in this specific instance carried out over a period of several months. All of the simulated phenomena is meticulously planned before its instigation and all results are recorded and transferred on microfilm.
It’s motives, if it has any, are unknown and appear to be indivisible from its actions. These actions manifest themselves, to the designated target, in the form of faults, glitches or anomalous occurrences. It utilises and manipulates the systems that support and augment our civilisation. Central Bureau does not seek to damage or inhibit the functioning of these systems, its actions are designed merely to merge with the malfunctions that occur naturally in any system. The engineers and disseminates small insignificant individual events that would normally be of no consequence, such as: a telephone fault, misdirected mail, or strange objects found in or near the designates’ yard. However as each event is encountered, strange similarities and coincidences become apparent, slowly embedding itself in the mind of the designate.
Central Bureau has the ability to shape and alter reality through the covert alteration of an individual‘s mind. This work is a record of these alterations.
Kate McMillan In the beginning is the end, detail, 2001, polypropylene grain bags, Curtin University of Technology Art Collection, gift of the artist, photo: Robert Frith, courtesy of the artist
b. 1974 United Kingdom
lives and works in Perth, Western Australia
Kate McMillan is a Perth based visual artist. In 2002 she was the recipient of an Australia Council Studio in Tokyo. She is currently working toward a major solo show at the Perth Institute of Contemporary arts in 2004 and will take part in a residency in Beijing later this year to complete work for this project. McMillan has had a number of solo exhibitions including ‘Undercover’ in 2001 at the Fremantle Arts Centre, ‘Hedge’ at Rubyayre, Sydney in 2000; Ambiguous Object(ive)s, PICA in 1999; Recent Work, the Verge Gallery and LUMP which was a collaborative project with Jane Finlay also at the Verge Gallery also in 1999. McMillan has been included in numerous group exhibitions including ‘Moving Collection’ curated by Roger McDonald held in Tokyo, New Zealand and Europe in 2002, ‘Urban Anxiety’ as part of the 2002 Artrage Festival touring to 1aspace in Hong Kong in 2003, ‘Loop’ at the Moores Building in 2001, ‘Neo-Geo’ at the John Curtin Gallery also in 2001, ‘do it’ for the 2001 Perth International Arts Festival curated by Hans Ulrich Obrist, ‘Nightswimming’ for the 2000 Perth International Arts Festival; Re:Body at the Fremantle Arts Centre; Minimal Collateral Damage at the John Curtin Gallery and Past Tense/Future Perfect touring from Craftwest to Object Galleries, Sydney in 1998. McMillan completed her Master of Creative Arts by Research with the assistance of an Australian Postgraduate Scholarship at Curtin University in 1999. She is a director on the Board of the Perth Institute of Contemporary Arts and has been an industry advisor and peer assessor for NAVA and the VACF of the Australia Council. She has had a number of grants, has work in various national collections and writes on art from time to time. Currently she is working full time on her own practice. ree received the Watts Memorial Award for performance and time based media.
In the beginning is the end, 2001
This work was originally made for an exhibition held at the Moores building in 2001. The work refers dually to cycles of production and memory referencing the history of the Moores building as a grain and wool storage facility at the turn of the 19th century. However the work attempts to further this reference by providing a contemplative enactment of empty spaces. No longer fulfilling their intended use, these grain bags become vessels for things past. In ‘Outside Tokyo: ideas about time and space’, they have been installed as they were always intended – evoking the possibility that the bags can drift from the floor and become ephemeral beacons for things, ideas and memories past.
I would like to dedicate this work to my late father,
Dr David Wayne Harper McMillan, 1944-2002.
Recycled cardboard palettes
This work is the final work in an investigation into what the artist terms ‘sacrificial economy’, which is a term first used to describe aspects of the work of Gordon Matta-Clark. For three years McMillan explored objects of consumption and production pre and post their use. In the case of this work, the recycled cardboard packing palettes have come directly off the factory floor prior to being used. In and of themselves these palettes have no value other than in relation to the more important objects they were designed to hold. The spiral is the strongest form in nature and hence the design of these palettes enables them to carry maximum weight. The work is simultaneously complete and incomplete. As an artwork it has completed its purpose but continues to operate in a state of preparation for the unfulfilled tasks intended in its original design.
Tom Múller In the beginning..., detail, 2000, copper, beeswax, heating elements, Curtin University of Technology Art Collection, purchased 2000, photo: Tom Múller, courtesy of the Artist
Born 1975 in Basel,Switzerland
Arrived Perth in 1992
Tom’s early works embodies the flux of the ever-changing natural landscape we inhabit. It also revealed hidden energies such as electromagnetic telluric lines and how they come to grid our planet.
In the year 2000, Tom produced an international document known as the World Passport, which has been presented in various institutions around the globe. This work has questioned issues such as nationalism and identity in today's world. Recently, Tom has been questioned by the International Authorities concerning the World Passport and the so-called contemporary artistic freedom.
In The Beginning is a long-term study translating the ever-changing phenomenon of the landscape. The work consists of two copper trays filled with a layer of beeswax placed atop four electric heaters operating on timers.
The installation operates as a visual metaphor for the continuous metamorphosis occurring in the natural world. Modelled on the qualities of the West Australian landscape this installation gives the viewer an overview, an aerial perspective of the subtle flux present in the land. The work relies on time to prove its visual and olfactory efficacy. As a medium beeswax is used both for its malleability and scent. New shapes and patterns are formed through the melting of the beeswax. New shapes and patterns are formed through the melting of the beeswax, which unfold anew at the end of every heating process.
In The Beginning is like peering through a window looking down on the process of the evolution of a landscape.
Carol Rudyard Still life with taps 1981, slide still, detail, slide projection with audio component, ceramic wash basin with fittings, ceramic tiles, perfume bottles, toilet soap, book, ceramic planters, indoor plants, painted wooden cubes. Curtin University of Technology Art Collection, purchased 1999, courtesy of the Artist
Born in England 1922
Resident in Australia since 1950;
Currently lives and works in Perth, Western Australia.
Carol has shown in 40 group shows in Australia and overseas, including the Bicentennial Perspecta in Australia and Germany; the inaugural Adelaide Biennial and 2 Sydney Biennales (including the 1990 Biennale directed by Rene Block).Included in the 22 solo exhibitions, during her career a major Retrospective at the Lawrence Wilson Gallery, University of WA, which also travelled to Monash University Gallery, Melbourne. Many of these solo exhibitions have taken place in Sydney at the Roslyn Oxley9 Gallery. Participation in group shows overseas included the Frankfurter Kunstverein, Frankfurt, Germany and the Chisenhale Gallery,London U.K.
Awards include a number of grants from the Australia Council and the WA Dept.of the Arts. A major Australia Council grant (also known as a Keating grant) provided a 3 year Creative Fellowship. Carol has held Honourary Research Fellowships at the University of Western Australia and Curtin University (1999-2003). The degree of Honorary Doctor of Letters was awarded by Curtin University in 1999. Carol Rudyard’s work is represented in a number of university collections, as well as Artbank, the Wesfarmers collection and various private collections.
Still Life with Taps 1981
Lush ferns, gold taps give a luxurious feel to the glossy white bathroom setting where the face of Proust appears on the gleaming tiles. As the large glamorous images appear and dissolve: wash basin, taps, water, become a touchstone for notions about art put forward by Proust….an aesthetic centred on Vermeer. Sounds of water running, taps dripping, distant snatches of music, a seductive speaking voice all intertwine with close-up views of taps, with elegant gold-stoppered perfume bottles, with the laid-bare workings of a plumbers demonstration model. A double-image, one of Proust’s ‘moments bienheureux’, refers to time and memory. Fragments of a painting by Vermeer mistily come forward then dissolve into other images…flowing, combining with words, creating a mood which implcates the viewer.
[Extract from Jillian Bradshaw Memorial lecture by Carol Rudyard 1992]
This work was made in the climate of Postmodernism when strategies such as appropriation and/or dislocation of exisiting forms were part of the critique (mounted by artists and others) against authoritarian structures and values.
Paul Thomas Ambiantspace 2002/3, video still, detail, DVD installation, courtesy of the artist
Paul Thomas, is currently the Director of the Biennale of Electronic Arts Perth 2004. BEAP established in 2002 in collaboration with Consciousness reframed conference 2002, the Fourth International CAiiA-STAR Research Conference. BEAP was established as the premiere electronic arts event in Australia and is currently the only Electronic Arts Biennale in the Southern Hemisphere. The event involved theorists and practitioners in the field of developing electronic technologies. Paul has been working in the area of electronic arts since 1981 when he co-founded the group Media-Space which met weekly and developed a series of artistic resources fitting an Artslab concept. Media-Space was part of the first global link up with artists connected to ARTEX. From 1981-1986 the group was involved in a number of collaborative exhibitions and was instrumental in the establishment a substantial body of research. In 1995 he founded the group Terminus= an online research group and in 2001 he developed the forums for electronic arts research (FEAR). . Paul is the coordinator of the Studio Electronic Arts (SEA) at Curtin University of Technology and is currently studying for his PhD researching a reconfiguration of spatial attitudes. Paul is also a practicing electronic artist who’s work can be seen on his website ‘Visiblespace’. http://www.visiblespace.com
The work documents a variety of residual spaces not as material representation of the new cyberspace but as significant symbols that has been composited to contradict the perspectival rhetoric. The work introduces a mimetic body that is created out of captured media fragments through a process of merging of residual spaces. The ‘Ambiantspace’ project is not aimed at using the perspectival paradigm as a platform to present media, which will produce a new image, or understanding of itself. This paradigm, allows for the objectification of the possible spatial reconfiguration of perception, which is the principle area of research in this project.
Abstract of text from ‘Ambiantspace’
Defining abstraction through the continual reconstruction of residual space.
To look at a banal space as abstract is to give it the effect of representation.
The mirror effect of banality gives the viewer what is seen and what is seeing. In-between these two things is clarity.
The banal space is one which symbolises nothing.
It has not signs or symbols of hierarchy, it has no function.
In every residual space there is a point of maximum tension.
On recognition the gaps envelop the seers, transporting them into the voids.
The residual space need not re-affirm the independence and singularity of its existence.
Are the residual spaces the boundary between reality and appearance?
The lagtime space is constructed to claim no social existence. It becomes a strange fetish.
The body is an organism for the subconscious manipulation of space.
Distorting the difference of attitude by its presence.
The space of the body is mediated and transformed by technologies.
Skin as a metaphor for the screen becomes the layer between two consciousnesses.
The body penetrates the space, the space then becomes a prisoner of its context.
The body can’t articulate the space the space can only articulate the body.
The space of physical consciousness exists within the microscopic construction of the environment.
To recognise the construction of complex narratives by the juxtaposed body.
The reflection of the body is transmitted through space working as an agent; disrupting, displacing; never defining.
The end point is untouched, the body is never revealed, its space eroded like the faded reflection.
To define meaning through immersion and confrontation.
The interval space containing residual objects is not an object itself.
The temporal breaks still define social relationships.
Space is a preconditioned state, a state of the subconsciousness.
The space between bodies - between objects - is the area of consequence for the real.
Can space define binaries or is it the defining body that privileges them.
The space between right and wrong, good and evil, empty and full.
If the residual space and the residual objects combine, then through this paradox comes meaning.
The limitation of the physical body's understanding of space is neither fluid nor immersive.
The dominant space is the space of the dictator.
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Patricia Piccinini – Call of the Wild
24 January-6 April 2003
Patricia Piccinini, Science Story – Part I: Laboratory Procedures 2001 – 02, digital C-type photograph 100x200cm, courtesy of the Artist
Patricia Piccinini - Call of the Wild, installation view, JCG, 2003
Patricia Piccinini is an artist who explores the frontiers of science and technology through her sculpture, photographs and video environments. Since the early 1990s, Piccinini has pursued an interest in the human form and its potential for manipulation and enhancement through bio-technological intervention. From the mapping of the human genome to the growth of human tissue and organs from stem cells, Piccinini’s art charts a terrain in which scientific progress and ethical questions are intertwined.
Ideas about nature and its simulation are central to Piccinini’s works, inviting us to question what is ‘real’ and what is not. Contemporary advertising and the culture of consumerism also finds recurrent expression in Piccinini’s art practice. Personal identity and the issues surrounding it lie at the core of Piccinini’s project. Her works invite the question: what is it that makes us who we are? For if the body can be unmade and remade through technology, what implications does this have for our identity as human beings? At this very moment, television reports about the insertion of surrogate pig organs into ailing human bodies have sparked debate about the nature of identity and it potential contamination. The benefits and drawbacks of gene therapy as a cure for illness, of genetically modified crops and their improved disease resistance, of cloning and it possibilities for infertility, and of stem cell research with its vast medical potential: each development shifts us further away from an imagined original or ‘essential’ self, and makes equally problematic our past definitions of the natural. (Excerpt from the catalogue essay by Call of the Wild curator Rachel Kent)
Presented in partnership with the Perth International Arts Festival.
Exhibition organised by the Museum of Contemporary Art, Sydney, Australia. The MCA acknowledges financial support from the NSW Ministry for the Arts and annual grant funding from the Commonwealth Government through the Australia Council, its' arts funding and advisory body.
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